Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Thailand and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Bologna kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rhythim Is Rhythim to the disco kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Jacques Brel. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Slave,
Radio Birdman,
Duran Duran,
The Happenings,
Reagan Youth,
Barry Ungar,
Louis and Bebe Barron,
Scratch Acid,
Ultravox,
Althea and Donna,
Television,
Stiv Bators,
The Slits,
Index,
The Fuzztones,
Rakim,
Pharoah Sanders,
Lyres,
The Birthday Party,
Flipper,
Mark Hollis,
OOIOO,
Gong,
The Wake,
Fluxion,
Robert Wyatt,
Young Marble Giants,
Ice-T,
Ten City,
Qualms,
The Misunderstood,
Rotary Connection,
ABBA,
Minny Pops,
Donald Byrd,
Skaos,
Rahsaan Roland Kirk,
Piero Umiliani,
Sex Pistols,
The Searchers,
Bobby Byrd,
Pantaleimon,
Country Joe & The Fish,
The Sonics,
Niagra,
Kango’s Stein Massive,
CMW,
Public Image Ltd.,
Grauzone,
Blancmange,
The Walker Brothers,
ABC,
Kaleidoscope,
Derrick Morgan,
Scott Walker + Sunn O))),
Graham Central Station,
The Skatalites,
Cheater Slicks,
Loose Ends,
Alton Ellis,
Harpers Bizarre,
Quando Quango,
The Cure, The Cure, The Cure, The Cure.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.